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Class _El3^ 
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COPl'RIGHT DEPOSIT 



THREE PLAYS 

BY 

HILMA L. ENANDER 

Author of 

'"Glimpses of Great Musicians^ ^ 

Etc, 




RICHARD G. BADGER 

THE GORHAM PRESS 
BOSTON 



Copyright 1913, by Hilma L. Enander 



All Rights Reserved 



The Gorham Press, Boston, U. S A. 



CI.D 34r399 



DEDICATED 

TO 

MISS HILDA SPONG 



CONTENTS 

I 

Page 

In the Light of the Stone 11 

II 

The Man Who Did Not Understand 35 

III 
On the Trail 55 



IN THE LIGHT OF THE STONE 



CHARACTERS 

Dr. Brooks 

Clara^ his wife 

Mr. Walton, his friend 

Mr. Patterson, his host 



IN THE LIGHT OF THE STONE 



Scene: Anteroom opening upon ballroom in the 
Patterson home. Couch next to side wall. 
Rack, rear, on which a number of men's 
coats hang. Chairs, table, etc. Door, rear, 
to ballroom. 

As curtain rises, Mrs. Brooks, in evening dress, 
enters, looks hurriedly around, and stoops 
doivn beside couch. She takes a diamond 
necklace from her bosom, unloosens a hair- 
pin from her hair, and pins the jewels under 
the couch. Just as she is about to rise, Mr. 
Brooks and Mr. Walton enter. Mrs. Brooks 
is unable to regain her standing position in 
time, so she stoops again and begins to 
fumble with her slipper. 
Mr. Brooks. It is the strangest thing — Why 

[Catching sight of his wife] Clara, what are you 

doing here? 
Mrs. Brooks. [Looking over her shoulder] 



11 



12 IN THE LIGHT OF THE STONE 

Oh, is it you, Henry? It's that buckle again. 
That makes the third time to-night. 

Brooks. [As she rises] They want you in 
the blue room. It is your turn next, I believe. 

Mrs. Brooks. Such a bore! [Appealing to 
Mr. Walton] I do wish when people have their 
diamonds stolen, that they would choose some 
other night besides the one in which we turn out. 

Mr. Walton. It is abominable ! However, it 
will soon be over. It's too bad you have to go 
through the ordeal, Mrs. Brooks. 

Mrs. Brooks. Have they searched you yet ? 

Walton. Oh, yes — they have finished all the 
men. 

Mrs. Brooks. I'm afraid they didn't search 
them very thoroughly then. 

Walton. They did me up pretty well. 
Thought I was a suspicious character, I sup- 
pose. 

Mrs. Brooks. [Laughingly] Are you sure 
you haven't hidden the gems away in the heels 
of your shoes? 

Brooks. Clara, they're waiting for you. 

Mrs. Brooks. All right, honey. [Kisses her 
hand at him and goes out rear door. Brooks and 
Walton light cigars and smoke during following 
scene] 



IN THE LIGHT OF THE STONE 13 

Walton. It's a nasty business. 

Brooks. Yes, it's too bad. Patterson felt 
humiliated about the searching of the guests. 

Walton. Then why did he do it? 

Brooks. The detectives wouldn't see any 
other way. 

Walton. How did it all happen ? 

Brooks. No one seems to know. Even Mrs. 
Patterson isn't sure when she missed the neck- 
lace. 

Walton. I don't remember seeing it on her 
when I came in. 

Brooks. What time did you come? 

Walton. Ten. 

Brooks. It must have been stolen early in the 
evening then. 

Walton. Very likely. I feel sorry for Pat- 
terson. He looks all cut up. 

Brooks. No wonder. Everyone is up in arms 
against him. Do you remember the Bretons ? 

Walton. No. 

Brooks. [Sitting] I guess they left before 
you came to the city. It was a similar case to 
this. Mrs. Breton lost a very handsome tiara at 
her daughter's coming-out party. Everybody 
was searched and everybody was furious. The 
tiara was finally found in a little pawnshop, but 



14 IN THE LIGHT OF THE STONE 

the Breton family found the city so warm after 
the episode that they moved somewhere up north. 

Walton. Well, I hope the Pattersons will 
find their necklace. 

Brooks. On the guests ? 

Walton. No, of course not! I hope they 
won't find it. Damn it all, I don't know what I 
hope. 

Brooks. If the servants had not been old and 
trustworthy ones — 

Walton But they always have to be old and 
trustworthy ones in cases like this. 

Mrs. Brooks. [Entering] Why such a 
petulant tone ? Has anything gone wrong ? 

Walton. [Standi7ig] No. How did you 
come out? 

Mrs. Brooks. Innocent. Stainless as a new- 
born babe. Mrs. Patterson apologizing on one 
side, her sister eating humble pie on the other, 
and I, the offended queen, in the center. 

Walton. Did you relent? 

Mrs. Brooks. At the end. I consented to for- 
give the insult. Mrs. Patterson thanked me with 
tears in her eyes. Honey, dear, [to Mr. Brooks] 
there's a telephone call for you. They're holding 
the wire. I tried to answer in your place but it 
was the Stainer family and they wouldn't listen 



IN THE LIGHT OF THE STONE 15 

to me. The baby is worse, I suppose. 

Brooks. Why didn't you tell me before? 
[Exit Brooks^ rear door.] 

Mrs. Brooks. There he goes again! Really, 
Mr. Walton, I'm getting jealous of that Stainer 
family. Mr. Brooks spends more time over there 
than he does at his own fireside. 

Walton. Is the child very ill? 

Mrs. Brooks. I suppose so. Typhoid, I 
think, — or is it measles? I've forgotten. Any- 
way, every time we go out to spend the evening, 
we have to come tearing back like mad. The 
child always seems to get worse when we begin 
to have a good time. 

Walton. I suppose this means another rush 
home for you. 

Mrs. Brooks. I suppose so. Perhaps I had 
better get ready. Will you get my wrap ? Ask 
the maid for the blue one. She knows it. I think 
I had better wait here for Mr. Brooks. 

Walton. I'll bring it directly. [Exit rear.] 

[Mrs. Brooks rushes over to the couch, unpins 
the necklace hut has no time to conceal it before 
her husband enters.] 

Brooks. Clara, get your things. The child 
is dying. We must go at once. 

Mrs. Brooks. Dying 1 [Backing up towards 



16 IN THE LIGHT OF THE STONE 

coat-rack.] 

Brooks. Yes. Hurry. 

Mrs. Brooks. But won't it look rather 
strange ? 

Brooks. What? 

Mrs. Brooks. This rushing away so hurried- 
ly during the search. 

Brooks. We can't help that. This is a mat- 
ter of life and death. Where is your wrap ? 

Mrs. Brooks. [Partly breaking down] Oh, 
Henry, I'm so afraid — I'm so afraid. We have 
to go, I suppose. You say she's dying. Are you 
sure she's dying? 

Brooks. [Softening] Yes, but don't feel 
that way about it. [Crosses over and takes one 
of her hands. With a quick movement, full of 
terror, she slips the necklace into the pocket of 
the coat nearest her.] We'll manage to pull her 
through. Where is your wrap ? 
[Enter Walton with wrap.] 

Mrs. Brooks. Here it is now. 

[Walton assists her while Brooks takes 
down coat containing necklace.] 

Brooks. [Putting on coat] It 's a hurry call, 
Walton. You'll give my excuses to Patterson, 
won 't you ? I don 't like to disturb him now. If 
I only [Puts hand into pocket. Pause. Pulls out 



IN THE LIGHT OF THE STONE 17 

necklace.] Why — here's the necklace. 

Mrs. Brooks and Walton. Necklace! 

Brooks. Yes — Mrs. Patterson's. It must be. 
Look at it, Clara. You know it when you see it, 
don 't you ? Isn 't this hers ? 

Mrs. Brooks. It does look something like it. 

Walton. Somebody put it into your pocket. 

Brooks. It looks that way. 

Mrs. Brooks. But why? Why should they 
put it into your pocket? 

Walton. To throw suspicion upon him of 
course. 

Mrs. Brooks. Suspicion upon — how dare you 
say such a thing about my husband ! 

Brooks. Hush, dear. Walton, will you ask 
Patterson to step out here? 

Mrs. Brooks. What are you going to do? 

Brooks. Give him the necklace, of course. 
Call him, please. 

Mrs. Brooks. [Holding hack Walton] No, 
no, — you must not go ! I won 't let you ! 

Brooks. Clara ! 

Mrs. Brooks. Don't you see they'll think all 
sorts of things, Henry ? They '11 imagine you put 
it there, — that you were afraid and tried to cover 
up your guilt with a trick? Don't you see you 
are setting a trap for yourself ? 



18 IN THE LIGHT OF THE STONE 

Brooks. Don 't be foolish, Clara. We have to 
give up the necklace. [To Walton] Get him, 
please. 

[Exit Walton.] 

Mrs. Brooks. But if he should suspect! 

Brooks. [Cheerfully] He won't. Patterson 
knows me. 

Mrs. Brooks. But if he should — if he should ! 
It would kill me! 

[Enter Patterson and Walton.] 

Patterson. You wished to see me? Ah, are 
you going so soon ? 

Brooks. Yes — a call — an urgent one. But 
that isn't why I wanted to see you. The fact is 
I found Mrs. Patterson 's necklace. 

Patterson. Necklace ! Where ? 

Bkooks. In my coat-pocket. 

Patterson. Coat-pocket ! 

Brooks. Yes. I was just putting my hand 
into it to get my scarf and I found the necklace. 
[Patterson is silent.] 

Brooks. You don't believe me! 

Patterson. [Constrainedly] Of course I 
believe you. Still it seems very queer. Was any- 
body here when it happened? 

Brooks. My wife and Mr. Walton. 

.Mrs. Brooks. Yes. He just put his hand into 



IN THE LIGHT OF THE STONE 19 

his pocket and pulled out the necklace, saying: 
''Here's the necklace." 

Patterson. When was this? 

Walton. Just a minute ago. Just before I 
called you. 

Patterson. You were all three together? 

Walton. Yes. 

Patterson. For how long? 

Walton. A minute or so before it happened. 
I had just stepped out a few moments before to 
get Mrs. Brooks' wrap. 

Patterson. You left her then with Mr. 
Brooks ? 

Walton. No. Mr. Brooks was answering a 
telephone call then. 

Patterson. [To Mrs. Brooks] You were 
here alone then? 

Mrs. Brooks. Yes. 

Patterson. And no one entered the room 
while you were here? 

Mrs. Brooks. No one. 

Patterson. How long were you alone ? 

Mrs. Brooks. About two minutes, I should 
say. 

Patterson. [To Brooks] And then you 
joined her? 

Brooks. Yes. But here, take your necklace. 



20 IN THE LIGHT OF THE STONE 

[Hands him necklace.] I'll have to go. I'll 
drop in to-morrow and answer any questions you 
wish to ask. 

Patterson. Just a moment. You two gentle- 
men came in here together just after the search ? 

Brooks and Walton. Yes. 

Patterson. Was there anyone in the room 
when you entered it? 

Walton. Yes. — Mrs. — [Brooks silences him 
with a look.] 

Brooks. Really, Patterson, this goes beyond 
my patience. Take your necklace. I know 
nothing except what I told you. Now let me go. 

Patterson. [Barring door] Not yet. The 
necklace was put into your pocket while the men 
were being searched, for I had a man go through 
this room just a moment before and there was 
nothing here then. 

Brooks. You accuse me then of — 

Patterson. I do not. I accuse no one, but I 
feel, — in fact, I know that you are shielding 
someone. If Mrs. — 

Brooks. Patterson! Let's end this farce. 
Take your stones and I '11 see you to-morrow. 

Patterson. I think, perhaps, Mrs. Brooks 
will be able to throw more light upon the sub- 
ject. 



IN THE LIGHT OF THE STONE 21 

Brooks. [Threateningly] What do you 
mean? 

Patterson. Don 't take it that way. I simply 
meant she might prove a valuable witness. You 
see she was the only one here when the thief hid 
the diamonds. 

Brooks. Clara, do you know anything about 
this business? 

Mrs. Brooks Of course not ! Why should I ? 

Brooks. If you do, tell him by all means. If 
you saw anything, speak up. Tell him every- 
thing. 

Mrs. Brooks. [Laughing] My dear boy! 

Brooks. Clara ! 

Mrs. Brooks. [Soberly] 1 know nothing, 
Henry, except that the jewels were stolen and 
were found in your pocket. 

Patterson. You saw nobody come into the 
room? 

Mrs. Brooks. No. 

Patterson. You saw nobody hide the jewels? 

Mrs. Brooks. No one. 

Patterson. You are quite positive no one en- 
tered the room unobserved by you? 

Mrs. Brooks. Quite positive. 

Patterson. I'm sorry. Brooks. 

Brooks. That's all right. I understand. 



22 IN THE LIGHT OF THE STONE 

Only do it quietly — that's all I ask. 

[Patterson starts for door. Mrs. Brooks 
steps before Mm and blocks ivay.] 

Mrs. Brooks. What 's the matter ? What are 
you going to do? 

Patterson. I 'm very sorry, Mrs. Brooks, but 
as long as suspicions point — 

Mrs. Brooks. You're not going to arrest 
him! 

Patterson. I'm afraid I shall have to turn 
him over to the detectives. If further investiga- 
tions prove him innocent, I shall be glad to 
apologize. 

Mrs. Brooks. But you don't know what you 
are doing. He's an innocent man — an innocent 
man, do you hear? He doesn't know anything 
about the necklace — I tell you he doesn't know. 

Patterson. Perhaps not. 

Mrs. Brooks. Then why don't you find the 
guilty one? Why don't you find the person who 
put the necklace there? Why don't you find 
him? Why don't you find him? 

Patterson. [Hesitatingly as lie looks at her] 
Can you help us find him? 

Mrs. Brooks. [In a dazed mangier] Can I 
help you find him ? I don 't know — I don 't know 
— ^but let me think. [Draws hand over fore- 



IN THE LIGHT OF THE STONE 23 

head.] Perhaps if you let me think, I can help 
you. 

[Brooks pushes a chair forward and she 
scats herself. The others sit.] 

Patterson. Well ? 

Mrs. Brooks. Of course I don't want to 
throw suspicion upon anyone. 

Patterson. No, we understand that, Mrs. 
Brooks. 

Mrs. Brooks. [To her husband] You know 
I wouldn't do that. 

Brooks. Yes, I know, Clara. Don't be afraid. 
Tell what you know. 

Mrs. Brooks. But I don't know very much. 
I didn't see much. 

Patterson. What did you see ? 

Mrs. Brooks. [To husband] It was after 
you left me. 

Brooks. Yes. 

Mrs. Brooks. You went to answer that tele- 
phone call. 

Brooks. Yes. 

Mrs. Brooks. And I was standing by the 
door. 

Brooks. Yes. Go on. 

Mrs. Brooks. [Rising and going to door, and 
taking hold of curtain] Right next to the cur- 



24 IN THE LIGHT OF THE STONE 

tain, like this. 

WxVLTON. Then a person entering wouldn't 
see you at first. 

Mrs. Brooks. No, — he didn 't. 

Patterson. Then someone did come in! 

Mrs. Brooks. Yes. 

Brooks. Who ? 

Mrs. Brooks. I don't know. [They all rise.] 

Brooks. You don't know! 

Mrs. Brooks. No. I didn't see his face. 

Patterson. Go on. 

Mrs. Brooks. He didn't know I was here and 
I didn 't move. 

Brooks. Yes. 

Mrs. Brooks. And he went over to the 
couch — 

All. Couch ! 

Mrs. Brooks. [Crosses room and kneels down 
heside couch.] Right here. 

Patterson. Then they must have been there 
during the search. 

Brooks. Yes. They must have been hidden 
before. 

Walton. Yes. 

Patterson. That's why we didn't find them. 

Brooks. That's wh.y. Go on. 

Mrs. Brooks. Well, he took them out, he 



IN THE LIGHT OF THE STONE 25 

took them out. He had pinned them in some 
way under the couch cover here, and when he 
pulled them out, I saw them glitter even where 
I stood. Then he slipped them into a coat-pocket 
and left the room. [She rises.] 

Brooks. And you didn't see him as he went 
out? 

Mrs. Brooks. No. 

Patterson. Can you describe him in any 
way? 

Mrs. Brooks. [Uncertainly] Well, he was 
tall, rather thin, I should say. 

Brooks. Black hair? 

Mrs. Brooks. No — brown. 

Patterson. Dress suit? 

Mrs. Brooks. Yes. 

Patterson. Beard ? 

Mrs. Brooks. I don't know. 

Brooks. But as he walked out of the room, 
he faced you, didn't he? 

Mrs. Brooks. Yes. 

Brooks. Didn't you catch sight of his face 
then? 

Mrs. Brooks. No. 

Brooks. Why not? 

Mrs. Brooks. I don't know. I simply did 
not see it, that's all. 



26 IN THE LIGHT OF THE STONE 

Brooks. "Were you looking towards Mm? 

Mrs. Brooks. Yes. 

Brooks. And didn 't see his face ? 

Mrs. Brooks. No. 

Brooks, My dear Clara, do collect yourself. 
Try to remember. Don't you see you have told 
too much now to try to hide anything? 

Mrs. Brooks. I'm not trying to hide any- 
thing. I simply didn't see his face — that's all. 
I don't know anything more about it. Take me 
home, Henry. 

Brooks. Not yet. You must tell all you 
know first, Clara. 

Mrs. Brooks. All I know ! 

Brooks. Yes. You haven't told enough. 

Mrs. Brooks. But I 've told all I know. Take 
me home, Henry. I'm so tired. 

Brooks. Tell me the name of the man first. 

Mrs. Brooks. But I don't know his name. 
Take me away from here or you will be sorry. 

Brooks. His name first. 

Mrs. Brooks. But I tell you I don 't know his 
name — I don 't know it — I don 't know it. 

Patterson. Then I shall tell you, Mrs. 
Brooks. 

Mrs. Brooks. You! 

Patterson. Yes. You are a very clever 



IN THE LIGHT OF THE STONE 27 

woman, Mrs. Brooks, but you are not clever 
enough to shield your husband. 

Mrs. Brooks. You don't think now that — ! 

Patterson. More than ever. 

Brooks. Shall I come with you ? 

Patterson. Yes. 

[Patterson and Brooks start for door. Mrs. 
Brooks rushes forward.^ 

Mrs. Brooks. No ! No ! Don 't go, — don 't go ! 

Patterson. Well ? 

Mrs. Brooks. I'll tell you — I'll tell you all. 
I know — I know — who — stole — the — necklace. 

Brooks. Clara ! 

Patterson. Who stole it? 

[Mrs. Brooks tries to speak hut cannot.] 

Brooks. Clara, don't speak! 

Mrs. Brooks. I must — I must. I — I — stole 
it. 

Patterson. You! [Mrs. Brooks nods.] 

Brooks. It's a lie! Don't you believe it! 
It's all a damned lie. She's getting up to save 
me. 

Mrs. Brooks. No, no, — it's not a lie. I stole 
— I always wanted it. It glittered so. I used to 
watch it whenever she wore it. It always looked 
so well on white. Oh, you don't understand — 
you can't — but the light of it dazzled me, — I 



28 IN THE LIGHT OF THE STONE 

• 

simply had to have it — I had to. So I stole it. 
I put it under there. [Pointing to couch.] Then 
you came in. [Looks at Brooks and Walton.] 

Brooks. And yon said you were fastening 
your buckle. 

Mrs. Brooks. [iVoc?^] Yes, — that's what I 
said — that's what I said. Then afterward I took 
it out — then you came in [To Brooks]. You 
said she was dying. Don't you remember you 
said she was dying? [Brooks nods.] And all 
the time 1 felt as if I were dying. I had it in 
my hand — in my hand just like this, and I 
didn't have a chance to hide it. Then you came 
towards me and then I couldn't hide it, so I 
slipped it into a coat-pocket. I didn't know it 
was yours, Henry, — I didn't know it was yours. 
[Breaks down.] 

Brooks. It's a lie I You don't believe it, Pat- 
terson 1 

Mrs. Brooks. It's the truth — it's the truth. 
You have to believe it. 

Walton. [At door] Here comes Mrs. Pat- 
terson. What shall I tell her? 

Patterson. Here — give her the necklace. 
Tell her I found it in the conservatory. Say that 
she must have dropped it there. 
[E.vif Walton with necklace] 



IN THE LIGHT OP THE STONE 29 

Mrs. Brooks. [Dropping down upon her 
A: ^1665 fee/ore Patterson] You mean that ? You 
really mean that ? 

Patterson. [Drawing her to her feet] Of 
course. There, now, don 't feel that way about it. 
We all make mistakes, you know, and no one 
shall hear of this, I promise you. There now, 
don't feel so badly about it. 

Mrs. Brooks. [To hushand]Tell him — he 
found my soul to-night — and gave it — back — to 
me. 

Brooks. He knows, dear, he knows. Come 
now with me. We're going back to Stainer's 
now. 

Mrs. Brooks. And life — and life. We're 
going back to life. 

Curtain. 



THE MAN WHO DID NOT 
UNDERSTAND 



CHARACTERS 



Ted Corson 
Minna, his wife 
Miss Bradford 



THE MAN WHO DID NOT 
UNDERSTAND 

Scene: Interior of Ted Corson's shack in the 
desert. The ivalls are rough and unplas- 
tered; the table, rude; the chairs, home- 
made. A shelf on one wall supports a 
wooden clock and a kerosene lamp, A cup- 
board stands to the left. Near this, some 
nails are driven into the ivall and support 
one or two blankets, a bit of harness, and 
some clothes. Window, rear, opens upon 
the desert. A box filled ivith flowers stands 
upon the window-sill. Door, rear. As the 
curtain rises, Ted Corson, a young man 
about tiventy -eight, is discovered leaning 
out of the window and talking to an unseen 
person outside. It is about seven o'clock 
and the light of the setting sun casts a red 
glow over the room. 
Ted. Has the mail-wagon come in yet, Jake? 

What's that? No mail! Oh! Too busy? I see. 

Well, we'll get it in the morning then. Did you 

see Henry? Oh, yes, I know all about that. 



3$ 



36 THE MAN WHO DID NOT U>5T)ERSTAND 

Married last week, wasn't he? Wedding-cake 
and all the frills. Cost him two weeks ' diggings, 
they say, without the drinks. What's that? 
Bringing the girl out here? What's the matter 
with the fool? What? Oh, — only a passenger. 
I see. What? Asking for me? Me! You're 
crazy. No girl would come out here and ask for 
me. If — who 's that, Jake ? Is she the one ? Say, 
old man, she's coming this way. Head her off, 
will you ? I don 't care — anything, onlv head her 
off. 

[He comes away from the window and 
stands listening. Then with an awkward 
feeling of self-consciousness, he hiittons up 
his sand-colored khaki and gives a jerky, 
effortless pull at his gaiters. There is 
dread as well as anticipation in his move- 
ments and the look on the face he turns 
towards the door is not a particularly 
pleasant one. There is a knock. He draws 
a deep breath and then opens the door. 
A pretty woman, about twenty, ejiters. 
She is dressed in a well-made tailor suit 
and carries herself with a distinctive air 
of careless self-assertion. Her hands are 
outstretched and her lips are smiling in 
delighted recognition.] 



THE MAN WHO DID NOT UNDERSTAND 37 

Ted. [Stammering] Nan ! 

Nan. Yes, it is I. Aren 't you glad to see me ? 

Ted. Of course. But why are you here? 

Nan. To see you. Aren't you going to shake 
hands ? 

Ted. [Grasping her outstretched hand] It's 
such a surprise. Why didn't you write and tell 
me you were coming? 

Nan. I did. I wrote last Monday. 

Ted. That's why I didn't get your letter 
then. It's only due to-day. Well, [with an ill- 
defined, abortive attempt at hearti7iess] it does 
seem good to see you again. When are j^ou going 
back? 

Nan. I'm not going back. 

Ted. [Aghast] Not going back! 

Nan. [Smiling and shaking her head] No, 
I 've come out here to stay. 

Ted. But you can 't do that. There 's no place 
to put you. There's no hotel and no boarding- 
house or anything of that sort, and then — oh, it 's 
out of the question ! You '11 have to go back. 

Nan. You're not very hospitable. 

Ted. I'm sorry, but you see it's impossible. 
You'll have to go. 

Nan. But my cousin is here. 

Ted. Cousin ! 



38 THE MAN WHO DID NOT UNDERSTAND 

Nan. Yes, — James, I mean, — Reverend James 
Clough. He — he — won't you understand? 

Ted. I8tam7neri7ig] You don't mean — 

Nan. Yes, I do mean that. I made him come 
on that account. He's right over there in the 
wagon. He was on his way to Salt Lake City, 
you know, and had a twenty-one day ticket, so 
when he heard that — that — well, he took a stop- 
over at Preston, — that's all. 

Ted. But if— 

Nan. [Interrupting] Oh, I know what you 
are going to say. You are going to tell me that 
I'll have no society, no teas, no theaters, and all 
that. I know all that, Ted. I've taken it all 
into consideration. There isn't anything that 
you can tell me that I haven't told myself again 
and again for the last two years. I'm ready to 
meet all these sacrifices. I 'm ready for anything 
as long as I have you. 

Ted. [Patiently] You don't understand. 
It's all very well to think about these sacrifices 
and to say that you are going to meet them, but 
it's very different when it comes to the real 
thing. You may be able to endure it for a few 
daj^s or, perhaps, a few weeks, but you won't 
stand it in the long run. I know that, for I've 
tried it myself and I know what I'm talking 



THE MAN WHO DID NOT UNDERSTAND 39 

about. Why, the men here — Nan, if you knew 
the men! 

Nan. The driver seemed all right. 

Ted. He's different from the others. They 
are — oh, I don't mean to say that they're all a 
bad lot, for some of them are pretty decent, — 
college fellows, you know, roughing it a bit — but 
most of them — well, they're not the sort you'd 
like to know. I meant to write to you and tell 
you all about it, — that it wasn't what I expected 
and that all the plans we had made were impos- 
sible. In fact, I did start half a dozen letters 
but I tore them up. You know it is hard to ex- 
plain things on paper. 

Nan. It's hard for me to understand when 
you don't explain. 

Ted. [Impatiently] But you can't expect a 
man to sit down and w/ite about a life that is 
killing him. 

Nan. [In a choked voice] You mean, then, 
that you do not want to — marry me? 

Ted. [Sulkily] Everything is changed now. 

Nan. No, no! It's you who have changed. 
I — I — oh, Ted, don 't you love me any more ? 

Ted. [His arms about her] Love you ! Love 
you! It's this very love that's driving me mad. 
Oh, Nan, don't you see how much I want you? 



40 THE MAN WHO DID NOT UNDERSTAND 

Don't you see? And now you're making it so 
hard for me by coming out here. 

Nan. Then don 't send me away. I 'm so tired 
of the city. I 'm always wondering what you are 
doing out here. Oh, I've tried to think it was 
for the best, — that you ought to have your start 
in life and not be hampered in any way by a 
woman, but I couldn't stand it — I had to come. 
I suppose you think me foolish and selfish and 
all that, but I wish you had never left the city. 
I wish there were no mines, no desert, no — [She 
breaks down and sobs.] 

Ted. Nan, I should have told you long ago — 

Nan. Told me — what — 

Ted. I — I — you see — 

Nan. You don't mean that — 

Ted. Yes — I'm married. 

Nan. Married! You married! You — [She 
stops and laughs brokenly.] Hoav funny! 

Ted. Nan ! 

Nan. But why — why ? 

[Minna, unnoticed, appears in the doorway. 
She wears an old-fashioned gray hat and 
a shabby cotton gown. She looks rather 
pale and tired, and there is an air of 
almost indifference about her as she 
tvatches the tivo before her.] 



THE MAN WHO DID NOT UNDERSTAND 41 

Ted. I don't know. She came to Silver Camp 
when I was down with the fever. She was a 
nurse, you know. She pulled me through and 
then — I married her. 
Nan. But if you — 

[She stops on seeing Minna in doorway. 
Ted, following the direction of her glance, 
also sees his wife standing there. Minna ^s 
face, however, betrays no sign that she 
has heard. Her eyes seek those of her 
husband with a calm negative glance. He 
shifts his feet uneasily before he speaks.] 
Ted. Why, Minna, is that you ? This is Miss 
Bradford, an old friend of mine. She has drop- 
ped in to see us on her way to Salt Lake City. 

Minna. [In a courteous monotone] I'm 
pleased to meet you. It's very kind of you to 
look us up. [She hangs up her hat as she 
speaks.] We don't have many visitors, you know. 
I trust you will stay with us for some time. 

Nan. [Grasping the last remnant of her self- 
control] No, no, I didn't intend to stay. I 
just thought I would stop for a moment. You 
see, Ted and I were such good friends. But I 
must be going. I'm sure the wagon is about to 
start. [Looking out of windoiu.] Yes, — there 
goes the driver. Good-bye, — I'm sorry I can't 



42 THE MAN WHO DID NOT UNDERSTAND 

stop — good-bye, Mrs. Corson, I'm so glad I met 
you — good-bj^e, Ted. 
[Exit Nan.] 
Minna. [Standing in doorway and looking 
after her with strange reflecting eyes] "She 
pulled me through and then I married her." 
Ted. [Starting] What do you mean? 
Minna. [Si7nply] Tell me all. At least I 
have a right to know. 

Ted. [Breaking doivn] Very well. I'll tell 
you all. 

[She closes the door and lights the lamp on 
the shelf. The sunset glow ivhich is already 
fading, dies aivay during the following 
scene. Ted sinks down on a chair near 
the table and drops his face into his hands. 
Minna scats herself opposite.] 
Minna. Well ? 

[He looks up surprised. Her voice is gentle, 

almost reassuring. As he meets her eyes, 

slie seniles.] 

Ted. [Miserably] It all happened three 

years ago. I was working in Balgiere's studio at 

the time, doing odd jobs, — scrap work to keep 

body and soul together. She used to come there. 

Balgiere was doing her portrait. He never went 

out, you know. That 's how I met her and then — 



THE MAN WHO DID NOT UNDERSTAND 43 

Minna. You became engaged? 

Ted. [Starting up] No, no. You don't 
think I would have asked you if — 

Minna. Go on. 

Ted. One day Balgiere was late. I was alone 
with her. I told her I loved her. I said I was 
going out west. She wanted to come too, but I 
wouldn't let her. The next day I broke away 
and came here. I've written twice to her since. 

Minna. And then you met me ? 

Ted. Yes, — then I met you. 

Minna. [Briskly] And I nursed you and 
then you married me. 

Ted. Don't! When I think of all you have 
done for me, all you have gone through for my 
sake, I feel like a miserable cur for bringing this 
upon you. I meant to write to her — 

Minna. Then you didn't write after you had 
married me ? 

Ted. No. I did expect to do it and tell her 
all. I suppose in the end I should have — but 
then you see she came before I got around to do 
it. 

Minna. And you love her still? 

Ted. [Hesitatingly] I suppose so. 

Minna. [Drawing a deep breath] Then 
there is only one thing to do, and that is to drive 



44 THE MAN WHO DID NOT UNDERSTAND 

me to Preston to-night. 

Ted. Preston ! 

Minna. Yes. I 'm going to take the morning 
train for Texas. 

Ted. Texas! You mean — 

Minna. Yes. I'm going back to my father. 

Ted. [Dazed] But why? 

Minna. After a time you can get a divorce 
and go back to her. 

Ted. And you ? 

Minna. I '11 stay on the ranch for a while and 
then I'll go to Los Angeles. You know I had a 
good opening promised me there at the hospital. 

Ted. Then you '11 go back to your work ? 

Minna. Yes, — unless my father needs me on 
the ranch. 

Ted. [In sudden heat] But this is impos- 
sible ! We 're talking nonsense. 

Minna. On the contrary, we are talking very 
sensibly. 

Ted. But I '11 not do it ! 

Minna. [Coolly] Then I shall do it myself. 
If you Avill not drive me to Preston to-night and, 
in this way, save me the trouble of carrying my 
suit-case, I shall go myself. My dear Ted, [lea^i- 
ing forward and placing her hand on his <zrm] 
do you think it is possible for us to live together 



THE MAN WHO DID NOT UNDERSTAND 45 

knowing what we know ? 

Ted. [Weakly] We've been very happy to- 
gether, haven't we? 

Minna. But we didn't know — then. 

Ted. If you could forget — 

Minna. No, no. If we lived in the city, we 
might be able to manage. But here — here in the 
desert — it is all so different. We can't escape 
each other. We have to meet day after day, 
always knowing — No, no, Ted, I'll go. It's bet- 
ter so. 

Ted. [In pitying complaisance as his mind 
reverts hack to his oivn troubles] But it will be 
of no use. Minna. She won 't have me. I 've been 
such an infernal scoundrel. 

[Minna laughs lightly, her imaginative sym- 
pathy forgiving his lack of moral 
severity.] 

Minna. Don't worry. When a woman loves 
a man, she doesn't care whether he is a scoun- 
drel or not. 

Ted. But what of you ? 

Minna. Oh, don't worry about me. I've 
always been longing for something I couldn't 
have and crying for something I couldn't get. 
A disappointment more or less won't hurt me 
now. It will only send me back to my work a 



46 THE MAN WHO DID NOT UNDERSTAND 

little stronger, a little wiser. 

Ted. It doesn't seem right. 

Minna. But it's the way of this foolish old 
world, you know. We're all reaching for some 
silly moon. What does it matter if the moon 
turns out to be green cheese ? We 've been reach- 
ing for it. That's enough. 

Ted. That I should bring this upon you! 

Minna. [Rising] You will drive me, then? 

Ted. If you — No, I won't — I won't do it! 

Minna. Very well. [She goes to the icindow 
and speaks through it to the unseen Jake] Jake ! 
Harness up Dick and Dolly, will you ? I 'm going 
to Preston to-night. Yes, — I want you too. No, 
— take the laprobe instead. Hurry, though. I 
want to catch the four o 'clock train. 

Ted. [As she turns] Nan! What are you 
thinking about? 

Minna. That you had better pay Jake for 
working overtime. I think I had better carry my 
blue dress and wear this one. It will be chilly in 
the desert. [Ted sinks hack into his chair and 
passively watches her pack her suit-case during 
the following dialogue.] Ted, you won't forget 
to put on an extra blanket on cold nights, will 
you? 

Ted. No. 



THE MAN WHO DID NOT UNDERSTAND 47 

Minna. I 'm afraid you will. And you won't 
sleep out-of-doors any more? 

Ted. I promise to behave. 

Minna. [Stopping a moment in her packing 
and smiling at him] I'm almost afraid to leave 
you. 

Ted. Then why — 

Minna. [Hastily resuming her packing] But 
you'll remember, won't you? 

Ted. Yes. 

Minna. Ted, — do you know I feel rather 
sorry about leaving the desert? 

Ted. Sorry ! I thought you hated it. 

Minna. I did at first, but I've grown to be 
quite fond of it. You remember that first night ? 

Ted. The night you came ? 

Minna. Stupid! I mean the night we 
watched the stars. 

Ted. Yes. 

Minna. [Stopping again in her packing] Do 
you know, the desert had never affected me be- 
fore that time ? I seemed to see it that night for 
the first time in my life, and it was as if I saw 
a strange and an unfamiliar face. There was 
something untamable about it all, something that 
made it akin to me, to my own wild spirit, and I 
felt my heart leap out towards it in a sort of 



48 THE MAN WHO DID NOT UNDERSTAND 

black fraternization that made the dreary gaunt- 
ness, the common-place unmeaning ugliness, the 
dead monotony of the far-stretching sand — all 
fade away and vanish into a mirage of imper- 
turbable beauty, as eternal as the hills, as endur- 
ing as time. 

Ted. [Groping for words] It will be lone- 
some without you. 

Minna. Perhaps. There will be no one to 
cook for you. That reminds me. [She goes to 
the cuphoard.] There are three loaves of bread 
left. They ought to last a while. And the pud- 
ding is up there on the top shelf. I only wish I 
had baked some cake yesterday — but I didn't 
know then. Well, [looking at the clock] it's 
eight o'clock — about time to start. Let's see — I 
feel as if I had forgotten to pack something. 
There's my black cape. [Takes cape from nail 
on wall and tries to put it into suit-case.] I 
might put that in. No, — there isn't room. Well, 
I'll have to leave it, I suppose. There [locking 
suit-case] that's ready. Now my hat. I'm glad 
it 's gray. It won 't show the dust even if I don 't 
wear a veil. Is it on straight? Now my jacket. 
[Ted helps her into the jacket.] Ted, do you 
know the first thing I'm going to get when I 
reach Texas? 



THE MAN WHO DID NOT UNDERSTAND 49 

Ted. What? 

Minna. A tailor-made suit. I'm so tired of 
this sack coat. I always did look like a barrel in 
it. What's that? [She runs to the window.] Oh, 
all right, Jake. I'll be out in a minute. [Turn- 
ing.] Let me see, — have I everything? Hat, 
coat, suit-case, purse, gloves, — oh, my gloves! 
Where did I put them? Here they are. Now I 
guess I'm ready. Well, I suppose I shall have 
to say good-bye. 

Ted. Good-bye. [They shake hands.] 

Minna. You'll take good care of yourself, 
won't you? 

Ted. Yes. 

Minna. And water my plants? — I shouldn't 
like to think of my flowers dying out here. 

Ted. I '11 water them. Is there anything else ? 

Minna. No, that's all. She goes to the door 
and opens it.] 

Ted. Minna! I can't do it — I can't! 

Minna. [Turning and going to him] What 
is it? What's the matter? 

Ted. I can't give you up. I shouldn't say it, 
I know, for you'll never believe me now, but I 
love you, I love you ! I thought it was the other 
one but it 's you, Minna, it 's you, and I can 't give 
you up. 



50 THE MAN WHO DID NOT UNDERSTAND 

Minna. [Drawing his face down to hers] 
Don't you see I want to stay? 
Curtain. 



ON THE TRAIL 



CHARACTERS 

Jim Bryce 

Bertha, his ivife 
Jack Saunders, a thief 
Max Brighton, a sheriff 
Ben Wiggins, his assistant 



ON THE TRAIL 



SCENE 

Scene: Iriterior of a mountain shack. Rough, 
nnplastered walls. Door, rear. Boor, right, 
close to rear. Table, left, set for one. An 
old-fashioned heating stove, extreme left. 
Bertha, a young ivoman about twenty, is 
sitting at the table and eating her supper as 
the curtain rises. She is reading from a 
book as she eats. A lighted lamp gives the 
time of day. A heavy knock at the door 
brings her, startled, to her feet. She takes 
a gun from the wall and then unlocks the 
door. Jack Saunders, revolver in hand, en- 
ters. He is black ivith dirt arid dust. 
Bertha. Who are you? 
Jack. Help ! I want your help. [Approaches 

her with raised revolver.] Will you help me? 
Bertha. Drop that gun! 

[He drops the revolver to the floor.] 
Jack. It's no good anyway. I emptied it 

down there in the gully. 



55 



56 ON THE TRAIL 

Bertha. Oh ! 

Jack. Don't worry. I didn't touch them. 

Bertha. Then you're followed? 

Jack. Yes. 

Bertha. A horse thief? 

Jack. No. 

Bertha. A criminal ? 

Jack. Perhaps. 

Bertha. And you want me to hide you? 

Jack. Yes. 

Bertha. Well, I won't do it, so you might as 
well go at once before they come. 

Jack. I can't go any further. I'm done for 
— done for — oh God ! to be cornered like this ! 
[He sinks into a chair and hiiries his face in 
his hands. She puts her rifle down on the 
table.] 

Bertha. Then why did you do it ? 

Jack. Do what? 

Bertha. Murder the — 

Jack [Starting up] Who said I murdered 
anyone ? 

Bertha. I thought — 

Jack. No, it wasn't that. It was only money 
— a few thousands taken from a milksop who 
never earned them. He deserved to lose them. 

Bertha. So you're a — thief. 



ON THE TRAIL 57 

Jack. Somebody else would have taken them 
if I hadn 't. And I needed them. I wanted them 
for her. 

Bertha. Her ! 

Jack. Yes, — my mother. But they came too 
late. I couldn't save her after all, and now 
they're after me. 

Bertha. How many? 

Jack. Two. 

Bertha. Who are they? 

Jack. The sheriff and another man. 

Bertha. Of Breton? 

Jack. No — Proctor. Do you know them ? 

Bertha. No. I know the one at Breton. Let 
me think — 

Jack. [Approaching her] Are you going 
to hide me? 

Bertha. I've told you "No" once before. 

Jack. Then do you know what will happen? 

Bertha. What? 

Jack. When they knock at that door over 
there, I'm going to take your gun and blow out 
my brains. 

Bertha. No ! No ! 

Jack. Not a pretty sight for a lady to see, is 
it ? Besides, it might spoil your floor. 

Bertha. You wouldn't be such a coward! 



58 ON THE TRAIL 

Jack. And every night after this you can 
say to yourself: "Here's the spot where that 
poor fool died because I wouldn't reach out my 
hand to help him." 

Bertha. You are a coward after all. 

Jack. Yes, but I'm not a fool anyway. 
They'll never take me — they'll never do that. 

Bertha. Listen! There's a path that leads 
up to the old Blue Mine. It 's half a mile up the 
trail, and a good hiding place. Go there and I '11 
send them away ; only go — go ! 

Jack. I can 't do it. I tell you, I 'm done for. 
Sorry — you 're a good sort, after all — I shouldn 't 
have talked the way I did. [He sinks into a 
chair.] — Thank you all the same — Give me a 
drink. 

[She gives him a glass of water a7id he 
drinks. As she takes the glass from him, 
she assumes a listening attitude.] 

Bertha. They're coming. 

[He starts iip and seizes the gun. She throws 
herself upon him.] 

Bertha. No ! No ! Not that ! Not that ! 

Jack. Why not? 

Bertha. I'm going to save you. — I'm going 
to save you from yourself. [She takes the gun 
away from him.] Lock that door. [He locks the 



ON THE TRAIL 59 

door as she hangs up rifle.] 

Bertha. Have they seen you? 

Jack. No. 

Bertha. Will they know you? 

Jack. Only from description. 

Bertha. Take off your coat. [He takes off 
his khaki coat. She points to his light negligee 
shirt.] Roll down that collar. [He rolls down 
collar.] Now put this on. [She takes down a 
miner's Mue shirt froyn a nail in the wall, and 
throws it to him. He slips it on, while she rolls 
up his coat and stuffs it with his hat into the 
stove.] Pull up your sleeves. No, — leave it 
open at the neck. Here, put on this belt. [Hands 
hiyn belt.] There — that's better. Now, wash 
your face. [Points to hasin of water in corner. — 
Knock at door.] 

Jack. But — 

Bertha. Wash your face ! [He washes while 
she puts an extra plate, cup and saucer on table.] 
Put on these. [Hands him a pair of spectacles.] 
[Knock at door.] 

Jack. But I can't see anything. 

Bertha. So much the better. Now, sit down, 
— no, on the other side. [He sits on farther side 
and. faces audience.] [Knock at door.] 

Bertha. [Towards door] Yes? [To Jack.] 



60 ON THE TRAIL 

You're a miner — remember? 
Jack. Yes. 

Bertha. And my husband. 
Jack. Yes. 

Bertha. Now eat. [He begins to eat.] Let 
me do the talking. 

Jack. With pleasure. 

[She opens the door. The sheriff and his 
assistant stand- outside.] 
Sheriff. I'm Sheriff Brighton and this is 
Ben Wiggins, my assistant. We come from 
Proctor. We're looking for a thief. 

Bertha. [Wo7ideringly] Thief! Then 
why— 

Sheriff. lie came this way. We're close on 
his tracks. Is he hiding here? 
Bertha. [Indignantly] Hiding! 
Sheriff. No offense, ma'am, only we want 
to be sure, you know. Law's law — there's no 
dodging that fact. 

Bertha. Come in then and see for yourself. 
[They come in and Bertha closes the door.] 
Sheriff. [Looking at Jack] Who's that? 
Bertha. Why, that's Jim, my husband. Oh, 
perhaps he can help you. [Turning to Jack.] 
Jim, these men are hunting for a thief. Did you 
see any stranger around the mine this afternoon ? 



ON THE TRAIL 61 

Sheriff. Xot this afternoon. It was to- 
night. 

Jack. What kind of man was he? 

Sheriff. Tallish, — wore a slouch hat. Here 's 
his description. [Hunts in his pockets and pulls 
out a paper which he reads.] "Five feet, eight 
inches. Broad shouldered. Brow^n hair. Grey 
eyes. Dressed in khaki." 

Bertha. Did you see him on your way home, 
Jim? 

Jack. No. Didn't meet anyone on the way. 

Sheriff. When did you come in ? 

Jack. About an hour ago. 

Ben. Aw — that's why you didn't see him 
then. This man's going up the trail now. He's 
just ahead of us. 

Sheriff. Where do you work? 

Jack. Blue Mine. 

Bertha. It's half a mile up the trail. 

Sheriff. Good hiding-place? 

Jack. Well, — perhaps. 

Bertha. [Seating herself on the arm of 
Jack^s chair and hending over him] It's a 
good hiding-place for my Jim. It keeps him 
away from me all day, doesn 't it ? 

Ben. [Disgustedly, as he turns away] Mush ! 

Sheriff. Well, we'll have to be moving. 



62 ON THE TRAIL 

Rertha. [Coming forward] Do you want 
Jim to take you up the trail ? 

Sheriff. No. — I guess not. We'll find our 
way all right. 

Bertha. Take our lantern then with you. 
The trail is pretty hard. It starts right behind 
the house next to the big boulder. 
Jack. You can't miss it. 
Bertha. Here's the lantern. Good luck to 
you. 

[Ben Wiggins goes towards stove. Bertha 
ivatches him in feverish excitement.] 
Sheriff. Thank you. Come along, Ben. 
[i?EN puts his hand on the stove handle.] 

Ben. Wait till I warm up. The air is getting 
cold. Any fire here? 

[He begins to open the stove-door. In order 
to distract his attention, Bertha gives a 
startled cry and rushes over to the door, 
right, tvhich Sheriff is approaching as he 
goes to door, rear. The Sheriff had no 
intention of entering door, right, and he 
looks at her in amazement.] 
Bertha. Don't you dare go in there! 
Sheriff, What — what — You're hiding him 
after all ! 

[Ben drops the stove-cover handle, and 



ON THE TRAIL 63 

comes forward to join the sheriff.] 

Bertha. I'm not, — but I won't have my 
house searched in this outrageous manner. 

Sheriff. Stand aside. 

Bertha. Don't you dare to touch me! It 
isn't enough to accuse me of harboring a criminal 
but you have to subject me to this disgraceful 
search. 

Sheriff. Get out of the way. I'm going to 
see who's hid there. 

Bertha. If you do — 

Jack. [Interrupting from table where he is 

calmly eating] What's the use of making such 

a fuss, Polly ? Let them hunt if it amuses them. 

Come and eat your supper. It's getting cold. 

[Sheriff and Ben go out through door, 

right. Bertha goes hack to the table 

sits down, drops her face into her hands, 

and sobs.] 

Jack. That was a close shave. I thought 
they had me when he began to open the stove- 
door. [As Bertha sobs.] What's the matter? 

Bertha. I'm so ashamed — I'm so ashamed! 

Jack. [Eating calmly] Of what? 

Bertha. Of you. 

Jack. Me ! 

Bertha. Yes. Why did you make me do it? 



64 ON THE TRAIL 

Jack. Make you! You did it of your own 
accord. 

Bertha. Yes, f know, I know, — but you 
should have stopped me. 

Jack. [Contemptuously] And given myself 
up, I suppose. 

Bertha. Yes. Then you would at least have 
been a man. 

Jack. And now 1 'm a coward ? 

Bertha. Yes. 

Jack. Thank you. [Goes on eathig.] 

Bertha. Don 't sneer. Oh, if you could have 
felt what I did. I wanted to shriek out at the 
top of my voice: "Here he is! Here he is! 
Don't you see him sitting there?" 

Jack. Hush ! they '11 hear you. Why didn 't 
you tell them then as long as you felt that way 
about it? 

Bertha. I don't know. I don't know. 

Jack. [Nodding towards gun] You were 
afraid of that, I suppose. 

Bertha. No, — it wasn't that. 

Jack. What was it then ? 

Bertha. Hush ! They 're coming. 
[Enter Sheriff and Ben.] 

Sheriff. What do you mean by lying to us! 

Bertha. Lying ! 



ON THE TRAIL 65 

Sheriff. Yes. Making us believe that he was 
in there. 

Bertha. I didn't say he was. 

Sheriff. You made us think it though. 

Bertha. I'm sorry. — You see I was a little 
excited — about you searching my room. You 
know you wouldn't like to have strange people 
breaking into your house. Of course I know 
it isn't your fault. You have to do it. Won't 
you have a cup of tea before you start? 

Sheriff. Thank you, ma'am, we won't stop. 
He's a slick man, you know, and we have to get 
a hump on us if we 're going to catch him. Blue 
Mine's half a mile up, you say? 

Bertha. Yes, — just at the end of the trail. 

Sheriff. Any houses about here? 

Bertha. No. There 's a wooden shack behind 
this one. It's empty though. We keep it for a 
store-house. 

Sheriff. We'll search that first. [To 
Bertha.] No objection, I hope? 

Bertha. None whatever, Sheriff. Take the 
lantern. 

Sheriff. Come along, Ben. [Sheriff and 
Ben go out, rear.] 

Jack. Why didn't you give me up? 

[Bertha does not answer but sits still, star- 



66 ON THE TRAIL 

ing straight in front of her.] 

Jack. You had a chance then. 

Bertha. I know it. 

Jack. Shall I call them back? 

Bertha. No. 

Jack. At least let me thank you for what 
you have done. 

Bertha. No, no, you don't understand. 

Jack. I understand enough to know that 
you have saved me. 

Bertha. That's just what I haven't done. 

Jack. [Taking another piece of bread] Now, 
that's sentimental nonsense. Five minutes ago 
you were fighting for my life. You were splen- 
did then. Now you're only preaching. 

Bertha. [Laughing brokenly] Preaching! 
I preaching! 

Jack. Yes, like a good little Sunday school 
girl. 

Bertha. You don't understand. I preaching! 
Why, you don't know — you don't know or you 
wouldn't say that. But Jim — Jim, my husband, 
is a thief too. 

Jack. Your husband — a thief! 

Bertha. Yes — a thief — just like you. He 
stole money — and then ran away — just like you. 
That's why we came out here to this Grod-for- 



ON THE TRAIL 67 

saken place. We were afraid — we're always 
afraid. Sometimes I feel as if I can 't bear it any- 
longer. It all happened five years ago and yet 
I never see anyone coming up the trail without 
feeling as if I were going to choke. I always 
think they are coming for him. I can't sleep 
nights, thinking about it. Now you know why I 
wanted to help you. I kept thinking of him — 
him — him — all the time, and I couldn't give you 
up — I couldn 't. But it 's all wrong. I shouldn 't 
have done it, and you'll give yourself up, won't 
you? Don't you see that's the only thing to 
do? 

Jack. You mean you are going to give me 
up? 

Bertha. No, no! I couldn't do that. But 
you will do it, w^on 't you, you will do it ? 
[Enter Sheriff and Ben.] 

Sheriff. Missus, the moon is coming up 
bright and clear, so we won't need your lantern 
after all. 

Bertha. Are you going up to the Blue Mine ? 

Sheriff. Yes. 

Bertha. Then you might as well — 

Sheriff. [Interrupting] Hst ! 

Bertha. What is it? 

Sheriff. [After a pause] Some one is com- 



68 ON THE TRAIL 

ing. 

Bertha. Coming! [Aghast with dawning 
apprehension as she pictures the catastrophe of 
her husband's return] Who — who can be com- 
ing here? 

Sheriff. Don 't you hear him ? 

Bertha. No. 

Sheriff. Hush — here he comes. 

[Clatter of horse's hoofs outside. Sheriff 
and Ben withdraw to corner behind door. 
Enter Jim Bryce. He closes door but 
does not see the Sheriff and Ben.] 

Bryce. Well, Bertha — ah, [Seeing Jack at 
table] a visitor? 

Bertha. [Approaching her husband and 
speaking in a strained, expressionless voice] Who 
are you ? 

Bryce. Why — what's the matter? What are 
you looking at me like that for? 

Bertha. Who are you? 

Bryce. Who am I ? Who am I ? Bertha ! Are 
you mad? 

Bertha. [Sajne voice] Who are you? 

Sheriff. [Coming forward] Yes — who are 
you? 

Bryce. [Turning and seeing Sheriff and 
Ben] What? More visitors? Quite a com- 



ON THE TRAIL 69 

pany! 

Sheriff. You haven't told us your name. 

Bryce. My name ! You say another word to 
me and there won't be enough left of you to 
plaster up an ant-hill. 

Bertha. Won't you please go? 

Bryce. Go ! — What does all this mean ? And 
who are you? [To Jack] — Yes, you sittin' over 
there with my coat on? 

Ben. Now you had better go. That 's her hus- 
band. 

Bryce. Husband ! Husband ! Somebody wake 
me up ! 

Sheriff. You'll wake up soon enough, my 
man. Where's that paper? [Hunts in pocket. 

Bryce. What paper? 

Sheriff. [Reading from paper] ''Five feet 
eight inches. Broad shouldered. Brown hair. 
Grey eyes. Dressed in khaki. ' ' 

Bryce. I'm locoed. 

Ben. Pretty near except the khaki. 

Bryce. Clean locoed — I knew it! It wuz 
down in Black Gully. It came upon me then. 
Say, [To Sheriff] have you ever felt anything 
crawlin ' up to you — sort of nestlin ' close to you ? 

Sheriff. If you mean cattle — 

Bryce. [Interrupting] Naw — I mean some- 



70 ON THE TRAIL 

thin' you can't see — only feel. Well, it came 
over me down there in the gully. I tried to push 
it away but it kept comin ' back again and again, 
all the time pressin' closer and closer. Then I 
began to ride. 

Sheriff. And came here? 

Bryce. Not then. I tried to get away from 
it and went up to Blue Mine. 

Sheriff and Ben. Blue Mine! 

Bryce. To see Cub. I ast him if he saw any- 
thin' about me and he said ''No," and all the 
time he wuz tellin' me it wuz nothin' but whis- 
key, I kept feelin' it crawlin' round my neck. 

Ben. [Curioiisly] Is it there now? 

Bryce. Naw — it's gone now. That's why I 
came here. 

Sheriff. Here ! 

Bryce. To see Bertha. You see, I'm home 
earlier than usual. I thought it wuz a warnin' 
that she wuz in danger. I wuz worried about her. 
That's all. 

Sheriff. And who are you? 

Bryce. I'm her husband. Anyway, I wuz 
before I got this loco spell. 

Sheriff. [To Bertha] Do you know him? 

Bertha. I never saw him before in all my 
life. 



ON THE TRAIL 71 

Sheriff. [Reading from paper] ''Broad- 
shouldered. Brown — ' ' 

Bryce. [Interrupting] That'll do, — that'll 
do. I 've heard that once before and I don 't like 
your literature. And let me tell you one thing. 
I 've been on this here trail for the last six years, 
not counting August, and I've never struck a 
man yet without reason. I 'm for peace and law 
and order but if I don't see you goin' down that 
trail out there in exactly five minutes, the slickest 
fighter in the Blue Mine district won't leave 
enough of you for the rest of the bunch to take 
a shot at. There 's the door ! 

Sheriff. My man, don't try to slip any of 
that over us. You're caught — cornered. 

Bryce. What do you mean? 

Sheriff. You're wanted. 

Bryce. For what? 

Sheriff. A little job you did down in Pres- 
ton a while ago. 

Bryce. You've got the wrong man. 

Sheriff. I guess not. We know our man 
when we see him. Why, we've been hot on your 
trail since yesterday morning. Lost it once or 
twice up here in the mountain but we were too 
near to miss you. Come along. [Puts hand on 
Bbyce's shoulder.] 



72 ON THE TRAIL 

Bertha. [Shrieks] No I 

Sheriff. What ! 

Bertha. I can't bear it! — I can't bear it! 

Sheriff. What is he to you? 

Bertha. Nothing — only — only — 

Sheriff. Only what ? Do you know anything 
about this man? 

Bryce. One moment, Sheriff. 

Sheriff. She must answer or decline to 
answer. 

Bryce. That's just what I wanted to tell her. 

Sheriff. Do you know this man ? [Pointing 
to Bryce. Paiise.] Declines to answer. Did you 
ever see him before? [Pause.] Declines to 
answer. Why this change ? You answered these 
same questions quickly enough before. Have 
you any motive in shielding him? [Pause.] 
Declines to answer. As your silence shows you 
know something about the robbery, even if you 
don't know who the guilty one is, I must place 
you under arrest too. 

Bertha. No, no, don 't do that. You 've made 
a terrible mistake. I'll tell you all I know. 

Jack. [Rising from table] No! 

Sheriff and Ben. [Turning] What? 

Jack. [Coming forward] I'll tell them my- 
self. 



ON THE TRAIL 73 

Sheriff. You ! Do you know anything about 
this? 

Jack. Perhaps I do. 

Sheriff. Well, why didn't you tell us be- 
fore? 

Jack. [To Bryce] You came on horseback, 
didn't you? 

Bryce. Yes. My horse is just outside the 
door now. 

Jack. That simplifies everything. 

Sheriff. How ? 

Jack. Why, you weren't following a man on 
horseback, were you? 

Sheriff. It's easy enough for a man to pick 
up a horse if that man is trying to escape. 

Jack. But the man you were following was 
on foot, wasn't he? 

Sheriff. Yes. 

Ben. When he left Preston. 

Jack. Well, then you have the wrong man. 
That's easy to see. 

Sheriff. How do you know ? 

Jack. Let me show you. Here's Preston. 
[Diagramming scene on stage. Places chair 
down front to indicate position of Preston.] 
Here's Proctor. [Places another chair.] 

Sheriff. Yes. 



74 ON THE TRAIL 

Jack. Here's the bridge [placing gun on the 
floor] over — what's the name of that creek? 

Sheriff. Silver creek. 

Jack. That's it. Here's Cullom Road [walk- 
ing towards table.] 

Sheriff. Yes. 

Jack. Leading around this way towards the 
mountain. 

Sheriff and Ben. Yes. Go on. 

Jack. Here's the trail. [Operis door.] 

Sheriff. What's that to do with it? 

Jack. Just wait. I'll show you. Now you 
say the thief started from Preston — [Places hand 
on chair '' Preston."] 

Sheriff. Yes. 

Ben. Yesterday morning. 

Jack. And went over here to Proctor? [Goes 
to chair ^'Proctor."] 

Sheriff. Got there about three o'clock. 

Jack. And then went down Cullom 's Road? 

Sheriff. Yes. 

Jack. There's just where you're mistaken. 

Sheriff and Ben. What ? 

Jack. He never took Cullom 's Road. 

Sheriff. How do you know? 

Jack. Because he w^as headed for the trail 
and the road would take him a mile out of his 



ON THE TRAIL 75 

way. No, — he went straight across the gully in 
this way, [Goes halfway across room] — dashed 
for the trail [leaps for door] and was gone! 
[Exit, closing door.] 
Sheriff. What — what — what — 

[There is a sound of horse's hoofs outside 
and then the Sheriff and Ben rush for 
the door. Bertha reaches it before they 
do, and stands facing them.] 
Sheriff. Let us out! 
Bertha. No, give him a chance. 
Sheriff. Then, he — 
Bertha. Yes, — he's the man. 
Bryce. You know, Sheriff, it's easy enough 
for a man to pick up a horse if that man is try- 
ing to escape. 

Curtain. 



OCT IS J9J3 



